The article deals with methodological problems of contemporary studying of the Russian peoplesʼ literature. The crisis of the former regular and ideologically motivated representations about their historical dynamics has revealed the need of searching a new paradigm of the research. It is not enough to postulate the multiplicity and differentiation of the national literary types of artistic consciousness. It is important to aspire to integrative characteristics, to complementarity «identity» and «dialogue», ethno-cultural discourse and axiological approach, and given the historical experience of our coexistence of peoples and cultures, to the articulation of «civilizational paradigm» which refers us to the «unity of different».

The possibility to connect the magic of words and music attracted the attention of the true creators for a long time. The creativity of modern Bulgarian writers is an example of the synthesis of these two art forms. The author made a music as a major element that defines the structure of a number of her novels doing music by the essential structural element in her novels, which are devoted to the problem of female identity in the modern world.

The article concerns the analysis of the contemporary texts of historiography. In their methodological approach, the historiographers use the story and the plot and look at the concept of the scientific fact. That kind of approach, which faces the historiographic research from the perspective of the contemporary philosophical praxis of deconstruction, enables the establishing of a connection between historiography and fiction. This results in the producing of the so-called historiographic metafiction, as a special genre of the novelistic narration. In addition, this study interprets the novel «Krale Marko» by Slobodan Mickovik.

The article examines morphological, lexical-semantic and syntactic characteristics of French adverbial expressions. The aim is to determine the scope of the term «adverbial expressions» and give it a consistent definition, correlate it with the notion of adverbs and define adverbialisation criteria relevant for the units in question.

«Moscow sculptural star» lighted up on the artistic horizon at the border of XIX and XX centuries. Event of Birth of a new form resembles the effect of the explosion of a super-new star, when surrounding it the luminous matter by gravity rapidly retracts inside and it turns into a pulsar, interesting for very few people. Simultaneously a lot of particles which were «shocked» by such catastrophic «failure» are thrown in space, and found themselves on the periphery of the universe. Entering into different compounds, they give the beginning for new stars, but these are the completely new ones by their composition. Before appearance the new «composition» of Moscow sculpture was formed, there were much of preceding powerful implicit work at the XXth century. Moscow, that always has reserved the right on independence views, assumed the last breath of the Academy, took the classic heritage of the old tradition but only in its most general and broadest sense – as an example of the ideal compliance the form and the image, everything else is exposing a fundamental restructuring. Here was not only the scale of purely artistic values was restored, but also was increased to infinity the level of internal freedom of the artist, that gave him the courage to enter the world spaces and defend their independence in the sphere of the conscious plastic ideas.

The article presents the complete information about the directions and content of the activities of Association for Classical University Education (formerly UMO universities) for all time of its existence.

The author analyses and compares the publications of the verses of Ye.L. Kropyvnytsky in the different editions, based on the sources of the texts in the collections of Vs.N. Nekrasov and V.T. Stigneev.

The article deals with the original concept of poetry translation, formulated by great poet of Mexico Octavio Paz Lozano (see the book of his essays «Translation: Literature and Literality», 1971), and his activity as a translator. The article shows that the Pazaʼs conception creatively assimilates ideas of Roman Jacobson, which reflect the utopic ideas of Paza about universal, overnational character of literature.

This article analyzes the views of the Mexican poet and essayist Octavio Paz on the language, the word and the speech. Particular attention is paid to the problem of speech, as well as concepts such as transparency and silence of the word

The article analyzes the category of otherness in the work of Octavio Paz and Antonio Machado, which occupies a central place in the system of philosophical and aesthetic ideas of both poets. Based on the study of key works of A. Paz and A. Machado the author proves the adjointness such of concepts as «otredad» and «heterogeneidad», revealing the basic principles of interaction between Myself and Others. In addition, in the article the connection between theoretical propositions which postulated by both authors, and its realization in their poetic texts is traced.

The subject of the present article is the pronominalized use of the two highly frequent word-combinations, namely, «a gente» (= we) and «o pessoal» (= they), in Brazilian Portuguese. These word-combinations are characterized both by pronominal and substantive patterns of use, and our aim is to show that there is a clear morphological and syntactic distribution in their functioning as noun or pronoun substitutes.

The problems of identity are now the focus of many of the humanities. Identity – a kind of a matrix, the most important mechanism of culture and a method of maintaining it. The article shows that the problems of identity have a linguistic measuring. In the discursive paradigm of Portugal the poetic language and the language of science are the main areas of registration of national and cultural identity.

The peculiarities of creating epic images of Taras Shevchenko as a key figure in Ukrainian Soviet culture and Soviet patriotism. The authors analyze the role of the creative heritage and way of the great Ukrainian poet in mobilizing spiritual forces of Ukrainian and other peoples of the USSR to repel the aggressors in the Great Patriotic War. We consider the activation of the scientific study of the life and works of T. Shevchenko, their use in print and radio propaganda, and the process of registration of the canonical image of the poet in the official Soviet ideology and propaganda.

The article analyzes the use of the image of T.G. Shevchenko in the Soviet policy of 1920–1930 as a symbol of the Ukrainian nation.

The article deals with the features of the psyholinguistic expression of emotional and semantic dominant «demonic mother» in the artistic text structure «Drowned woman» Shevchenko. There are also described linguistic means of representation through the glass of emotionally coloured speech of the subject.